I just watched the season 5 finale of Lost. Don't worry there won't be any spoilers (although there may perhaps be spoilers for previous season finales), my main mind-defecation for this blog post will be more about my concern of where Lost is heading, and my internal-conflict of how I want it to keep doing what it's doing for the final season but I'm afraid at what cost?
I loved how season 5's finale gave me an overload of mindf*ck through pure storytelling, but only just the right amount of overload to keep me sane. Any more and I'd be decorating my walls with mind-defecation instead of my blog...and it might just come from more places than the mind if you know what I mean.
I thought I had a mind-bender with season 3's finale, but that was just from a writing device that caught me off guard. Up until that point we've just been getting flashback structure, then BAM we're hit with a flash-forward. Season 4 kept going with flash-forwards, but also throwing in the occasional trick like mixing in a flashback. I loved season 4 for constantly blowing my brain and mending it again just so it can be blown once more, however the finale was just more of a cliffhanger than an amazingly spectacular (there is no word that can go here to describe what I'm trying to say). Perhaps it was due to the high quality of storytelling of the previous episodes that they couldn't really reveal anything too amazing but just give off a big explosion of light and settle with that. I did like the secret compartment behind the secret compartment though.
Now we come to season 5. Without giving anything away, I just loved how we are given an answer but only at the expense of a Pandora's Box opening full of new questions. I don't think a story has been told this well since End of Evangelion, but that brings me to my ultimate conflict concerning the fate of Lost.
My favourite kind of stories are the ones that require you to have your brain switched on. I love complexity, I need to think more than I could handle, so that when I sleep my brain will grow and evolve enough to handle it, and then I need more. From my experience with people, and perhaps it's not as much experience as a normal socialite would have but also is the precise reason why I'm not a socialite, is that people tend to scoff at the idea of using their brain when it comes to entertainment. People want to be entertained with something simple and not thought-provoking. Explosions and tits accommodate to these tastes, it doesn't really matter the context of where they came from just as long as it's a bunch of pretty colours. Lost contains explosions, tits AND lots of pretty colours but they all belong to a context, so it's been doing pretty well so far.
Now, though, Lost is getting more and more complex, as it needs to, but all the explosions, tits and pretty colours are starting to fade away. Maybe not the explosions, but if they're caused by electromagnetic fields and other science mumbo jumbo then it won't hold for long. I hope it gets even more complex in the next season, but if it does it might lose a lot of its ratings and will probably be canceled before it even ends. All I can hope for is that fans of Lost, the ones who are just there for the fireworks, don't lose faith in the show and will keep supporting it. Something like this is hard for me to hope for because I've already lost faith in humanity. I know there are a lot of smart people out there, I know there are probably a few million Lost fans who love it because it provokes thought, but that's not enough against the tens of millions who'd rather watch American Idol and a bunch of mindless light shows.
Theory on "Synecdoche New York".
WARNiNG: This post will contain spoilers for anyone who has not seen this film at least twice!
I have just watched Synecdoche New York at a cinema and it was absolutely thrilling. For the first time I fully appreciated the effect of the lights dimming when the picture started, then the lights coming up when the picture ended. The reason why is outlined in my previous post about this film, but that post is a jumbled unstructured mess so I will outline it here once more. The lights dimming indicates going to sleep, the picture appearing before your eyes is told like a dream with dream-logic and the lights coming up when the picture ends indicates waking up. I believe the best way to completely enjoy Synecdoche New York is in this way. Combined with the uncovering of this theory I am about to explain, overall the experience was more than overwhelming. I could have stood up and punched the nearest person in the face. It was also interesting to notice the scenes that made other people (watching it for the first time) laugh out loud. This was my third time so I laughed at a lot more scenes, but the comedy was more about how much I love watching this film. In the second viewing I hung on every word, while the third viewing I was able to look all around at other details while still gripping on dialog, making even more sense of the film.
I also discovered an amazing feeling of paradox. The ending of the film was so climactic, because to explain it properly you have to explain the entire movie, scene by scene, as it finally builds up to this amazing conclusion. But the conclusion is played out so subtly, so gently and softly. The context is HUGE but the scene is so small. It's the same paradox as the theater production itself getting bigger and bigger, but smaller at the same time. There might be more paradoxes in the film that I haven't noticed, so I will have to look out for them in further viewings.
My theory will be explained in two parts, the context of the ending (**SPOILERS!!**), setting up the scene and also the beyond the 4th wall meaning of it all. Or perhaps, going beyond the 4th wall is also another context, hidden from view.
1. CONTEXT
I will mainly center the context around the character of Ellen, the cleaning lady. I think she is a very important clue to the story. Caden Cotard goes on a search for his first wife, Adele (who is a painter), and when he's at her apartment he is mistaken for the cleaning lady "Ellen", but he assumes the role of Ellen anyway because it allows him to be inside his first-wife's apartment.
While seeing one of Adele's exhibitions he finds a portrait of Ellen. Where this portrait came from is a complete mystery, but my thinking of its origin is in my "beyond the 4th wall" theory that I will explain later. I haven't yet analyzed the film entirely scene by scene, perhaps there is a little detail I overlooked. I notice there was a scene of Ellen's dream on a television commercial much earlier in the film, but I don't think that has anything to do with the origin of the portrait. There is also the "dream logic" that crops up in the film but I like to think there's more to it, but I'll get into that later.
So, in the real world, Caden Cotard assumed the role of Ellen. In Cotard's play, he decides to recreate the scene where he assumes the role of Ellen, except use Ellen as an actual character based off this mysterious portrait. Then we get to a point where Hazel, the assistant and love-affair of Caden, dies and Caden decides to base the play on the final day before she dies. He needs a new actor to play himself (not including the actor who was playing the original actor (who comited suicide earlier) who plays himself), so in an amazing twist the actress playing Ellen convinces Caden that she can play him. After a successful rehearsal of the new version of the play (an overly dramatic version of a play within a play) Caden Cotard feels he has exhausted his creativity. The actress playing Cotard suggests she should take over the actual directing while he rests, and that he could fill the role of Ellen (in the play).
So here's the context: The actress who was playing Ellen is now playing Caden Cotard, but because Caden Cotard is now playing Ellen, the actress is playing Cotard playing Ellen BUT also directing the play at the same time. It's something that can be thought of in a single moment but will take forever to explain because your words will keep going around in circles. But when you understand it completely, you can then entirely take in the subtle, soft ending as an overwhelming climax.
But where did the portrait come from?
2. NO 4TH WALL
The easiest part to understand about Synecdoche New York is when Caden Cotard is making a play where actors are playing actors, then actors are playing the actors playing actors, and so on. But here's where my theory is: what if, from the beginning, we have been watching actors playing characters and not the actual characters themselves? Put it this way: we are watching a film by Caden Cotard, and we are not watching Caden Cotard on the screen, but we are watching Philip Seymour Hoffman playing Caden Cotard on the screen!
This could have been the original intention of Charlie Kaufman the whole time, that there is this world beyond the 4th wall that the actual events on the screen are merely imitating, taking artifacts from and playing them in the film. Not that it's based off Charlie Kaufman's own life, although maybe it is, I wouldn't know. We don't see what's behind the 4th wall, we are just seeing what's being reflected from it (perhaps represented by seeing Caden through his reflection in the mirror in the opening scene?).
A theory shouldn't be without evidence, so here are a couple moments that I think are essential clues:
Firstly when we see Caden directing the young actor in "Death of a Salesman". He gives him advice to acknowledge the fact that the audience knows that he is a young actor playing an older character who will meet his demise, and feel the tragedy of it. I find this a suitable allegory to the whole film if you take my theory into practice. Most of the actors (Philip Seymour Hoffman, Samantha Morton, Catherine Keener etc) are younger than the characters they play in the film, and we know they all meet their demise, if we're already acquainted with the story that is.
Secondly when we are watching the rehearsal of Ellen outside Adele's apartment in the play, Caden hears the voice of Adele (on a tape-loop) and attempts to open the door to the apartment himself. The actress playing Ellen says "You're breaking the 4th wall!". My thoughts are too scrambled to put this into words, but I think it's a very important clue.
As for the mysterious portrait of Ellen, well that may just be an artifact from the existence behind the 4th wall that somehow creeped its way into the 3-wall story. And if that's the case, then my hat goes off to Charlie Kaufman for blowing my mind harder than double-barreled shotgun ever could, and I don't even wear a hat!!
---
One more thing to mention about this film. I have read some scathing reviews about it and it mainly concerned how uncomfortable it is to watch at some points. For me it's when Caden gets his head split open at the beginning, but other than that I am absolutely enthralled and spellbound by this film. I think I could watch it a hundred times and never get sick of it. It makes it even harder to watch it analytically because I get so easily drawn into the story. I think it has something to do with the music (notice how many times Charlie Kaufman's name appears in the song-writing credits), as if the music plays the film and not the other way around like we usually perceive. I think this film is crafted to the finest detail, even everything we barely see out-of-focus in the background. Everything. Synecdoche New York could possibly be my number 1 film of all time, surpassing 2001: A Space Odyssey. I love this film and that's the brutal truth. Brutal.
Brutal.
Movie Night at my house! (photos taken with my DSi)
Hello! Welcome to Movie Night at Archfriend's House! All of these will be played from our living-room projector on to our large blank white wall (ignore the stains) and everyone will be served with a complimentary glass of Vodka.
First off we begin the night with -
Falstaff (Chimes At Midnight)
Specially imported from Spain (don't worry it's in English, well, Shakespearian English) this is the rare post-Citizen Kane masterpiece by Orson Welles, one that he himself always raved on about, and that's saying something! The story is a compressed version of both Henry IV, Part 1 and Henry IV, Part 2 by William Shakespeare, with elements of Richard II, Henry V and The Merry Wives of Windsor thrown in. Centered around Shakespeare's original character, John Falstaff, it is here that Orson Welles summarized a sprawling Shakespeare epic into film-format, using bits of material that otherwise suited the theatre. The film is wall-to-wall (except for the giant battle scenes) with Shakespeare-talk so if you aren't learned in complicated English words then you'll be left behind. However, with intense active listening skills you might just be entertained with the high-brow comedie experience.
Up next we have -
Love & Pop* and Shiki Jitsu ("Ritual")
Specially imported from Japan (the US version of Love & Pop is out of print) comes these two rare masterpieces of cinema. After finishing the animated world of Evangelion, before starting on the adaptation of Cutie Honey, estranged yet highly respected story-teller Anno Hideaki decided to make these two very personal projects. Love & Pop is an interesting exercise in obscure film techniques you'll never see anywhere else plus dynamic editing that thrusts you into the story weather you can follow it or not. Shiki Jitsu is the most significant film in existence, adapted from a book written by Ayako Fujitani (Steven Seagal's daughter) AND she also acts the leading role as her own fictional character! On top of that, we have cult film director Shunji Iwai also acting in the lead male role, a big deal because this is the only film he's acted in! There are more things to explain about it but I would be just rambling on about something which could easily just go into its own post. I'll do that later.
*no subtitles
If you're still around then get ready for -
Il Buono, Il Brutto, Il Cattivo
Specially imported from Italy this is the original 168 minute version which Sergio Leone originally intended! This will also feature the underwhelming monoreal soundtrack complete with sound-drops and all the static crackles and pops!! It's all in Italian with no subtitles so you will have complete purist-enjoyment.
And now to take us into the early hours of the morning we will watch -
Droopy, the complete theatrical collection
Get ready for non-stop laughing (on the inside) as this specially-imported-from-the-USA 2-disc set of 24 theatrical shorts climaxes all over the screen! After leaving the Warner Brother's studio tired of such bland characters like Bugs Bunny, Daffy Duck or Porky Pig, Tex Avery went to MGM with complete freedom to make fully animated shorts of his own character, Droopy. These are non-stop gag based animations the way Tex Avery imagined cartoons to be. They will be watched in chronological order in its entirety so we can count gags being recycled 1, 2, 3 even 4 times! Also, witness the crude racial humour that reflected the times in American society from when these were made! You'll be dying of laughter (on the inside)!!
Well that's it. After all that you will be kicked out into the cold grey morning and you'll have to make your own way home because I don't drive a car.
First off we begin the night with -
Falstaff (Chimes At Midnight)
Specially imported from Spain (don't worry it's in English, well, Shakespearian English) this is the rare post-Citizen Kane masterpiece by Orson Welles, one that he himself always raved on about, and that's saying something! The story is a compressed version of both Henry IV, Part 1 and Henry IV, Part 2 by William Shakespeare, with elements of Richard II, Henry V and The Merry Wives of Windsor thrown in. Centered around Shakespeare's original character, John Falstaff, it is here that Orson Welles summarized a sprawling Shakespeare epic into film-format, using bits of material that otherwise suited the theatre. The film is wall-to-wall (except for the giant battle scenes) with Shakespeare-talk so if you aren't learned in complicated English words then you'll be left behind. However, with intense active listening skills you might just be entertained with the high-brow comedie experience.
Up next we have -
Love & Pop* and Shiki Jitsu ("Ritual")
Specially imported from Japan (the US version of Love & Pop is out of print) comes these two rare masterpieces of cinema. After finishing the animated world of Evangelion, before starting on the adaptation of Cutie Honey, estranged yet highly respected story-teller Anno Hideaki decided to make these two very personal projects. Love & Pop is an interesting exercise in obscure film techniques you'll never see anywhere else plus dynamic editing that thrusts you into the story weather you can follow it or not. Shiki Jitsu is the most significant film in existence, adapted from a book written by Ayako Fujitani (Steven Seagal's daughter) AND she also acts the leading role as her own fictional character! On top of that, we have cult film director Shunji Iwai also acting in the lead male role, a big deal because this is the only film he's acted in! There are more things to explain about it but I would be just rambling on about something which could easily just go into its own post. I'll do that later.
*no subtitles
If you're still around then get ready for -
Il Buono, Il Brutto, Il Cattivo
Specially imported from Italy this is the original 168 minute version which Sergio Leone originally intended! This will also feature the underwhelming monoreal soundtrack complete with sound-drops and all the static crackles and pops!! It's all in Italian with no subtitles so you will have complete purist-enjoyment.
And now to take us into the early hours of the morning we will watch -
Droopy, the complete theatrical collection
Get ready for non-stop laughing (on the inside) as this specially-imported-from-the-USA 2-disc set of 24 theatrical shorts climaxes all over the screen! After leaving the Warner Brother's studio tired of such bland characters like Bugs Bunny, Daffy Duck or Porky Pig, Tex Avery went to MGM with complete freedom to make fully animated shorts of his own character, Droopy. These are non-stop gag based animations the way Tex Avery imagined cartoons to be. They will be watched in chronological order in its entirety so we can count gags being recycled 1, 2, 3 even 4 times! Also, witness the crude racial humour that reflected the times in American society from when these were made! You'll be dying of laughter (on the inside)!!
Well that's it. After all that you will be kicked out into the cold grey morning and you'll have to make your own way home because I don't drive a car.
Smashing the Antiu, once a year.
It's still unclear to me why John Vesano is no longer the bassist/vocalist for Nile. Just look at him! (in "Execration Text" and "Black Seeds of Vengeance" videos) He is a beast of a man. If I were in a death metal band I would want to keep that guy no matter what the cost.
Before Vesano there was a guy called Chief Spires but I don't know what he looked like. That's a pretty cool name though. Strangely enough after John Vesano left (after completing the "Annihilation of the Wicked" album) Nile's songs became a lot more catchier.
The melodies are a lot more stronger on their last album, "Ithyphallic". It also helped that Karl Sanders and Dallas Toler-Wade weren't focused on the drumming side, as they left that up to their drummer (George Kollias). That is pretty logical to me. If a guitarist, who in most circumstances wouldn't know how to drum in the first place, wrote the drumming parts would it be anywhere near as creative as it would be if the drummer wrote his own part? Just listen to a song like "Eat of the Dead" from their last album, compared to a similar type of song from the previous album "Von Unaussprechlichen Kulten". Both are great songs, but Eat of the Dead has so many little subtleties in its drumming (try air-drumming to it) that you know only the genius of a proper drummer could come up with that.
I've been listening to Nile lately, partly because Karl Sanders' new solo album "Saurian Exorcisms" is coming out next week and I've already pre-ordered it. His last solo album "Saurian Meditations" is excellent, it took a while to really grow on me but now every time I listen to it only gets better and better. It's almost like a soundtrack to a forbidden movie. I think the best two songs are "Of The Sleep Of Ishtar" and "Contemplations Of The Endless Abyss", the latter being relevant to my interest of avant-garde soundscapes that creep me out.
OK now I have to go and find all these youtube videos..
Thinking about thoughts on "Synechdoche New York"
Warning: this post may contain spoilers to the films "Human Nature", "Being John Malkovich", "Adaptation", "Confessions of a Dangerous Mind", "Eternal Sunshine of a Spotless Mind" and "Synechdoche New York".
I re-watched this film just now. I can't really say what my thoughts are, they're too complicated to put into words, I don't think my head has really wrapped itself around this film enough. In the fashion of the film itself, or in the fashion of Charlie Kaufman's beyond-the-4th-wall mind, I will share my thoughts about the thoughts of the film.
Because I see the film itself about being a film in itself. One thing Kaufman himself pointed out is that he was interested in dream-logic, which this film contains, yet I don't think it's all just one big dream. I see this film as being a story told in dream-language. It goes back to the old analogy that the cinema is a portrayal of a dream. Think going to the cinema, past all the trailers and commercials, the lights dim and it's totally black in the room (ignore the glowing exit sign down the bottom corner, or do your best to), this is like closing your eyes and then suddenly without noticing a moving picture with sound plays before you in your mind. This moving picture seems to have a story, familiar characters that you know or feel, but it doesn't play like real life. Time is not linear, people don't act the way you expect or sometimes they are exactly what you expect, the logic is nonsense but it doesn't mean it's not logical. When the film ends the lights go up and you stretch and feel like you've just woken, but the story plays through your mind and the more you think about it the more it gets weirder and weirder. The great thing about films opposed to dreams is that you can watch them over and over, so that if you forget something you can re-visit it again.
In "Synechdoche New York" the story is like a dream, but it's not the main character, Caden, who is dreaming, it's you - the viewer. That's what I'm trying to say.
The one thing I really love about watching this film is that it's completely the vision of Charlie Kaufman. This story wouldn't have worked if he didn't direct it. Everything about the film is complicated, like it complicates complexity and turns into itself to make the complex complications multiplying by its own value. I will talk about turning points later. As for what I'm talking about now, I'd like to explore Charlie Kaufman's other works.
I usually hate to admit that to understand a masterpiece you will usually have to understand the artist who created it. I hate to admit it because it's just too much work. I also like the idea of separating myself from "who done it" syndrome so I can try to appreciate the piece (in this case the film) from the point of view from someone who has no idea what it is, what it's about and who made it. I like that feeling of being amazed for the very first time. But then there's that part of me that says it's not enough, I need to know more and understand it more.
I've been a follower of Charlie Kaufman since "Being John Malkovich". I thought that movie was great, especially how you can watch it again and pick up things you didn't notice before but were of great importance to the story. I see "Being John Malkovich" as a self-contained movie, it works without working against anything else. It was a couple years later when I heard about "Adaptation". I saw that film and then I saw it again. I later found it on DVD and watched it plenty times more. It was in this film that Charlie Kaufman wrote himself into his own story, and Susan Orlean's story. Both "Being John Malkovich" and "Adaptation" were directed by Spike Jonze, which were his first two feature films. "Adaptation", as opposed to "Being John Malkovich", was not a self-contained story. It contained references to Charlie Kaufman's own (split?) personality, it even contained behind-the-scenes of "Being John Malkovich" as a reference-point of who Charlie Kaufman is. It is a story about him adapting a book, "The Orchid Thief", then we see the actual film-adaptation of the book (which we know Charlie is working on), but then it turns around and Charlie's fictional twin brother, Donald, decides to finish the adaptation by involving himself and Charlie in a thriller ending that breaks the rules by following them, which in turn is breaking them. It doesn't make sense in words, but happened in the film and that's the only way to accept it. Watching these films I can't help but notice the creative influence of Spike Jonze when it comes to this strange deadpan realism of Kaufman's fantastic psychological experience.
I'll briefly touch on George Clooney's "Confessions of a Dangerous Mind". In this one Charlie Kaufman was commissioned to adapt a book by Chuck Barris, infamous TV show producer and host of the original "Gong Show", where he confesses that he was really leading a double life as a hired assassin working for the CIA. A story like this seems right up Kaufman's alley, riddled with a confusion of truth and fiction, and easily complex storytelling. But George Clooney and Kaufman didn't really have too much communication, if any, and the film turned out to be more to Clooney's vision more than Kaufman's. I still think it's a great film, as a George Clooney project, and Charlie Kaufman's presence is vaguely there through some of the writing and humour.
Now we have Michel Gondry's side of Charlie Kaufman. Kaufman's first adapted screenplay, "Human Nature", was relatively obscure compared to his other stories. From the get-go "Human Nature" was an already complex narrative, starting as a story being told by a man who is dead. What we eventually get is a story being told from three different viewpoints, piecing together a whole story about a man who grew up in the wild, was taken out of the wild by a nature-loving woman and a nature-hating scientist. The scientist decides to use this man as a subject to prove that manners and sophistication can be taught to the most primitive beast, but we learn from an alternative viewpoint that the man was only willing because he wanted to impress women and get laid. Thus we have sophistication as being a result of primitive desire, which is also prevalent in the nature-woman's character to impress the scientist. My favourite line is "Words are evil!". The other Gondry-Kaufman project is of course "Eternal Sunshine of a Spotless Mind". I'll briefly try to explain the complex narrative of this one: We start at the conclusion of two people who don't know each other but feel like they do because they get along so well, then we start from the start, when these two people actually did know each other but they broke up, it's important to note that we are in the memories of the main character, but this isn't obvious until we're up to the point where the procedure of his memories being erased begins within his memories. At this point his memories start moving backwards, but outside his mind there is also the forward-narrative of the people erasing his memories. The people have trouble along the way because when he discovers that he doesn't want to continue the procedure (in his mind), he starts to complicate things by hiding in points of his past that are buried deep down and can't be tracked. There's an important subplot with the people carrying the procedure which leads to the important discovery when we're at the conclusion (continuing from the beginning of the movie) and the ultimate answer to all the problems: "Yes".
I don't know why I even tried.
Now I'd have to talk about Michel Gondry's influence on these films. I've been a fan of some of his most iconic music videos, and his "how did they do that? That must of been hell to pull off" experimental techniques in film. One in particular is Kylie Minogue's "Come Into My World" music video. I can see that Gondry also likes to play with dream-logic. Most of his work is usually set within a dream or memories of the main character(s). He has made films that he wrote and directed himself. I've only seen "Be Kind Rewind" which was a truly fascinating experience. I see Gondry as more of a playful film-maker, whereas Spike Jonze is more of a hybrid of deadpan realism and fantasy, as if they were the same thing.
Now we come to "Synechdoche New York", a film written and directed by Charlie Kaufman. My first viewing of this film I felt he had a style that might have been cross-between Michel Gondry and Spike Jonze, but then afterwards I realised that it's really not like that at all. It's all Kaufman. There are so many things so subtle and complicated that you're forced to view it multiple times, even freeze-frame it and notice things that you will only notice by doing that. I would think only Charlie Kaufman could put subtle hints into backgrounds/foregrounds, even if they're out of focus, that you would notice important plot points. The stalker who eventually plays Caden in his play, is the most obvious one. And then there are the turning-points, as I mentioned earlier. Every scene seems to have a turning point, which turns into itself but also moves the story forward. Imagine a wheel turning and moving along the ground, and then a wheel inside the wheel, turning as caused by the overall turning of the larger wheel, and another wheel inside the smaller wheel, etc. The wheel is an analogy of the plot.
Here are a couple examples still fresh in my mind: When Caden is at the after-party of his opening-night of Death of a Salesman, he talks with Hazel and she suggests they get stoned. He says he gets "bothered" when he gets stoned so he has to turn her down. He gets home the next morning and finds his wife Adele and her friend Maria have gotten stoned, they say they can't wait to see the play but he seems to take it with a grain of salt (because they're stoned). They do see the play that night and Adele hated it because Caden borrowed something that wasn't his so it couldn't be entirely truthful to him. Caden doesn't defend himself, even so the play turned out successful, but he decides to make something original and truthful to himself. There's always this constant struggle between people not doing things and other people doing that very thing, turning themselves and it creates a self-perpetuating momentum. Another example is how Caden decides to assume the role of an elusive "Ellen", the cleaning lady of Adele's apartment, then in his play he casts a woman to play Ellen based on a portrait painted by Adele. Meanwhile Caden mentions when he has an affair with Tammie (an actress in a whole other complex twist and turn in the story) that he thinks if he were a woman he'd be better at it than being a man. In the play Caden decides he needs a new actor to play himself, the woman playing Ellen convinces him that she can play the role, but then a new turn happens when Caden decides he needs time off, but the role of Ellen (who he originally was in the real world) is open and that he will play her. So now the role of Caden is played by a woman and Caden is playing the role of a woman. It is after this turn that the whole story is now about Ellen, a woman who never really existed because it was Caden all along, but Ellen is being played by Caden, who is being directed by the woman who was acting as Ellen but is now acting as Caden. At this point I think the wheel has now turned into a spiral but I still haven't quite wrapped my head around it.
Another aspect of Kaufman's directing is the dream-logic, that the story isn't really a dream but it's not really real either. It's like it's self-conscious of being a film. I also kept trying to analyze Kaufman's directing style but I couldn't help myself being so immersed in the story I had to actually snap myself out of it from time-to-time, only because I was trying to watch it objectively and not really trying to enjoy it as it is, which I'll do once I get all the pieces put together. Some examples of the dream-logic are quite obvious: the house on fire, the dark novel written by a four-year-old, Caden constantly seeing himself used as images in commercials and cartoons and of course the heavy time-jumps between scenes, among other things. My favourite example is one I had to freeze-frame, when it shows a close up of the book that Caden is reading which was given to him by his therapist. The therapist's voice is narrating the words, which don't see, but when we do see the words I noticed there is a paragraph of absolute nonsense, either that or way too complicated for anyone to understand. This is the kind of dream-logic where you are reading something, but the words are always changing when you read them, and they don't make sense the more you read them.
My final point on Charlie Kaufman's directing style is the structure. This is more relating to the turning wheel analogy. This isn't a film with "acts" or "set pieces". You could say there are major plot sections, but each of them roll into each other with these turns and twists, each happening in every scene. This is not a story for people who want simplicity and clarity (which is why we have "acts" and "set pieces"), but at the same time there is no reason why a film like this shouldn't be made, especially if it has something important to share.
There are more things to talk about in Kaufman's style, like his visual complexities in every frame, every scene, but I couldn't begin to describe them unless I had accompanying screen-shots, which I don't have on me at the moment.
When I go through all the previous works of Charlie Kaufman, I also notice how they seem to be from a researcher/writer point-of-view. "Human Nature" had the scientist, "Being John Malkovich" had the puppeteer (a form of story-telling), "Adaptation" had Charlie Kaufman himself writing a screenplay, "Confessions of a Dangerous Mind" had the confessions written by Chuck Barris and "Eternal Sunshine" had a poet, although I can't remember what Jim Carey's character did for work..but that's besides the point. It's amazingly appropriate then that Charlie Kaufman's directorial debut is a story about a theater director. Especially with some scenes where he's directing actors, saying things like "the audience should be conscious of you being a young actor who is aware that he's not going to make it by the end" (in referring to the performance of the actor playing an older man in "Death of a Salesman"). Or when he's directing in his own play he says "Now you two are having an affair off-set, which isn't good for the show. Keep in mind you're actors playing actors. And you (to actor playing a cameraman), you're not just filming the scene, you're in the scene, so act like you're in the scene!"
Charlie Kaufman has worked his way from writing about writers to directing a story about a director, directing an actor who's playing a director (both inside and outside of the story, take your pick).
I re-watched this film just now. I can't really say what my thoughts are, they're too complicated to put into words, I don't think my head has really wrapped itself around this film enough. In the fashion of the film itself, or in the fashion of Charlie Kaufman's beyond-the-4th-wall mind, I will share my thoughts about the thoughts of the film.
Because I see the film itself about being a film in itself. One thing Kaufman himself pointed out is that he was interested in dream-logic, which this film contains, yet I don't think it's all just one big dream. I see this film as being a story told in dream-language. It goes back to the old analogy that the cinema is a portrayal of a dream. Think going to the cinema, past all the trailers and commercials, the lights dim and it's totally black in the room (ignore the glowing exit sign down the bottom corner, or do your best to), this is like closing your eyes and then suddenly without noticing a moving picture with sound plays before you in your mind. This moving picture seems to have a story, familiar characters that you know or feel, but it doesn't play like real life. Time is not linear, people don't act the way you expect or sometimes they are exactly what you expect, the logic is nonsense but it doesn't mean it's not logical. When the film ends the lights go up and you stretch and feel like you've just woken, but the story plays through your mind and the more you think about it the more it gets weirder and weirder. The great thing about films opposed to dreams is that you can watch them over and over, so that if you forget something you can re-visit it again.
In "Synechdoche New York" the story is like a dream, but it's not the main character, Caden, who is dreaming, it's you - the viewer. That's what I'm trying to say.
The one thing I really love about watching this film is that it's completely the vision of Charlie Kaufman. This story wouldn't have worked if he didn't direct it. Everything about the film is complicated, like it complicates complexity and turns into itself to make the complex complications multiplying by its own value. I will talk about turning points later. As for what I'm talking about now, I'd like to explore Charlie Kaufman's other works.
I usually hate to admit that to understand a masterpiece you will usually have to understand the artist who created it. I hate to admit it because it's just too much work. I also like the idea of separating myself from "who done it" syndrome so I can try to appreciate the piece (in this case the film) from the point of view from someone who has no idea what it is, what it's about and who made it. I like that feeling of being amazed for the very first time. But then there's that part of me that says it's not enough, I need to know more and understand it more.
I've been a follower of Charlie Kaufman since "Being John Malkovich". I thought that movie was great, especially how you can watch it again and pick up things you didn't notice before but were of great importance to the story. I see "Being John Malkovich" as a self-contained movie, it works without working against anything else. It was a couple years later when I heard about "Adaptation". I saw that film and then I saw it again. I later found it on DVD and watched it plenty times more. It was in this film that Charlie Kaufman wrote himself into his own story, and Susan Orlean's story. Both "Being John Malkovich" and "Adaptation" were directed by Spike Jonze, which were his first two feature films. "Adaptation", as opposed to "Being John Malkovich", was not a self-contained story. It contained references to Charlie Kaufman's own (split?) personality, it even contained behind-the-scenes of "Being John Malkovich" as a reference-point of who Charlie Kaufman is. It is a story about him adapting a book, "The Orchid Thief", then we see the actual film-adaptation of the book (which we know Charlie is working on), but then it turns around and Charlie's fictional twin brother, Donald, decides to finish the adaptation by involving himself and Charlie in a thriller ending that breaks the rules by following them, which in turn is breaking them. It doesn't make sense in words, but happened in the film and that's the only way to accept it. Watching these films I can't help but notice the creative influence of Spike Jonze when it comes to this strange deadpan realism of Kaufman's fantastic psychological experience.
I'll briefly touch on George Clooney's "Confessions of a Dangerous Mind". In this one Charlie Kaufman was commissioned to adapt a book by Chuck Barris, infamous TV show producer and host of the original "Gong Show", where he confesses that he was really leading a double life as a hired assassin working for the CIA. A story like this seems right up Kaufman's alley, riddled with a confusion of truth and fiction, and easily complex storytelling. But George Clooney and Kaufman didn't really have too much communication, if any, and the film turned out to be more to Clooney's vision more than Kaufman's. I still think it's a great film, as a George Clooney project, and Charlie Kaufman's presence is vaguely there through some of the writing and humour.
Now we have Michel Gondry's side of Charlie Kaufman. Kaufman's first adapted screenplay, "Human Nature", was relatively obscure compared to his other stories. From the get-go "Human Nature" was an already complex narrative, starting as a story being told by a man who is dead. What we eventually get is a story being told from three different viewpoints, piecing together a whole story about a man who grew up in the wild, was taken out of the wild by a nature-loving woman and a nature-hating scientist. The scientist decides to use this man as a subject to prove that manners and sophistication can be taught to the most primitive beast, but we learn from an alternative viewpoint that the man was only willing because he wanted to impress women and get laid. Thus we have sophistication as being a result of primitive desire, which is also prevalent in the nature-woman's character to impress the scientist. My favourite line is "Words are evil!". The other Gondry-Kaufman project is of course "Eternal Sunshine of a Spotless Mind". I'll briefly try to explain the complex narrative of this one: We start at the conclusion of two people who don't know each other but feel like they do because they get along so well, then we start from the start, when these two people actually did know each other but they broke up, it's important to note that we are in the memories of the main character, but this isn't obvious until we're up to the point where the procedure of his memories being erased begins within his memories. At this point his memories start moving backwards, but outside his mind there is also the forward-narrative of the people erasing his memories. The people have trouble along the way because when he discovers that he doesn't want to continue the procedure (in his mind), he starts to complicate things by hiding in points of his past that are buried deep down and can't be tracked. There's an important subplot with the people carrying the procedure which leads to the important discovery when we're at the conclusion (continuing from the beginning of the movie) and the ultimate answer to all the problems: "Yes".
I don't know why I even tried.
Now I'd have to talk about Michel Gondry's influence on these films. I've been a fan of some of his most iconic music videos, and his "how did they do that? That must of been hell to pull off" experimental techniques in film. One in particular is Kylie Minogue's "Come Into My World" music video. I can see that Gondry also likes to play with dream-logic. Most of his work is usually set within a dream or memories of the main character(s). He has made films that he wrote and directed himself. I've only seen "Be Kind Rewind" which was a truly fascinating experience. I see Gondry as more of a playful film-maker, whereas Spike Jonze is more of a hybrid of deadpan realism and fantasy, as if they were the same thing.
Now we come to "Synechdoche New York", a film written and directed by Charlie Kaufman. My first viewing of this film I felt he had a style that might have been cross-between Michel Gondry and Spike Jonze, but then afterwards I realised that it's really not like that at all. It's all Kaufman. There are so many things so subtle and complicated that you're forced to view it multiple times, even freeze-frame it and notice things that you will only notice by doing that. I would think only Charlie Kaufman could put subtle hints into backgrounds/foregrounds, even if they're out of focus, that you would notice important plot points. The stalker who eventually plays Caden in his play, is the most obvious one. And then there are the turning-points, as I mentioned earlier. Every scene seems to have a turning point, which turns into itself but also moves the story forward. Imagine a wheel turning and moving along the ground, and then a wheel inside the wheel, turning as caused by the overall turning of the larger wheel, and another wheel inside the smaller wheel, etc. The wheel is an analogy of the plot.
Here are a couple examples still fresh in my mind: When Caden is at the after-party of his opening-night of Death of a Salesman, he talks with Hazel and she suggests they get stoned. He says he gets "bothered" when he gets stoned so he has to turn her down. He gets home the next morning and finds his wife Adele and her friend Maria have gotten stoned, they say they can't wait to see the play but he seems to take it with a grain of salt (because they're stoned). They do see the play that night and Adele hated it because Caden borrowed something that wasn't his so it couldn't be entirely truthful to him. Caden doesn't defend himself, even so the play turned out successful, but he decides to make something original and truthful to himself. There's always this constant struggle between people not doing things and other people doing that very thing, turning themselves and it creates a self-perpetuating momentum. Another example is how Caden decides to assume the role of an elusive "Ellen", the cleaning lady of Adele's apartment, then in his play he casts a woman to play Ellen based on a portrait painted by Adele. Meanwhile Caden mentions when he has an affair with Tammie (an actress in a whole other complex twist and turn in the story) that he thinks if he were a woman he'd be better at it than being a man. In the play Caden decides he needs a new actor to play himself, the woman playing Ellen convinces him that she can play the role, but then a new turn happens when Caden decides he needs time off, but the role of Ellen (who he originally was in the real world) is open and that he will play her. So now the role of Caden is played by a woman and Caden is playing the role of a woman. It is after this turn that the whole story is now about Ellen, a woman who never really existed because it was Caden all along, but Ellen is being played by Caden, who is being directed by the woman who was acting as Ellen but is now acting as Caden. At this point I think the wheel has now turned into a spiral but I still haven't quite wrapped my head around it.
Another aspect of Kaufman's directing is the dream-logic, that the story isn't really a dream but it's not really real either. It's like it's self-conscious of being a film. I also kept trying to analyze Kaufman's directing style but I couldn't help myself being so immersed in the story I had to actually snap myself out of it from time-to-time, only because I was trying to watch it objectively and not really trying to enjoy it as it is, which I'll do once I get all the pieces put together. Some examples of the dream-logic are quite obvious: the house on fire, the dark novel written by a four-year-old, Caden constantly seeing himself used as images in commercials and cartoons and of course the heavy time-jumps between scenes, among other things. My favourite example is one I had to freeze-frame, when it shows a close up of the book that Caden is reading which was given to him by his therapist. The therapist's voice is narrating the words, which don't see, but when we do see the words I noticed there is a paragraph of absolute nonsense, either that or way too complicated for anyone to understand. This is the kind of dream-logic where you are reading something, but the words are always changing when you read them, and they don't make sense the more you read them.
My final point on Charlie Kaufman's directing style is the structure. This is more relating to the turning wheel analogy. This isn't a film with "acts" or "set pieces". You could say there are major plot sections, but each of them roll into each other with these turns and twists, each happening in every scene. This is not a story for people who want simplicity and clarity (which is why we have "acts" and "set pieces"), but at the same time there is no reason why a film like this shouldn't be made, especially if it has something important to share.
There are more things to talk about in Kaufman's style, like his visual complexities in every frame, every scene, but I couldn't begin to describe them unless I had accompanying screen-shots, which I don't have on me at the moment.
When I go through all the previous works of Charlie Kaufman, I also notice how they seem to be from a researcher/writer point-of-view. "Human Nature" had the scientist, "Being John Malkovich" had the puppeteer (a form of story-telling), "Adaptation" had Charlie Kaufman himself writing a screenplay, "Confessions of a Dangerous Mind" had the confessions written by Chuck Barris and "Eternal Sunshine" had a poet, although I can't remember what Jim Carey's character did for work..but that's besides the point. It's amazingly appropriate then that Charlie Kaufman's directorial debut is a story about a theater director. Especially with some scenes where he's directing actors, saying things like "the audience should be conscious of you being a young actor who is aware that he's not going to make it by the end" (in referring to the performance of the actor playing an older man in "Death of a Salesman"). Or when he's directing in his own play he says "Now you two are having an affair off-set, which isn't good for the show. Keep in mind you're actors playing actors. And you (to actor playing a cameraman), you're not just filming the scene, you're in the scene, so act like you're in the scene!"
Charlie Kaufman has worked his way from writing about writers to directing a story about a director, directing an actor who's playing a director (both inside and outside of the story, take your pick).
I should pay more attention to this!
Aarg! I'm busy. For my next post I need to gather specific screenshots and examples for what I'm trying to talk about. I might end up doing some non-image posts but then you're just subjected to my opinion without evidence and I don't want that!
I also want to mention this next paragraph just to get it out of the way, but I might be repeating it later anyway.
One purpose of this blog is to challenge myself as an animator. I'm not a professional artist and I currently don't work in a studio so there is no means of me posting my works in progress (for I have no current works to work on). So right now I'm in the "finding my grounds" stage which is probably the most fun stage of life to be in, before your soul gets drained from turning your art into a job.
But it would be a miracle for me to get anything done. I have a full-time job where I move around boxes and I get home feeling too lethargic and sleepy to do anything. I get paid on a monthly basis which is incompatible with my budgeting expertise (which means I spend it all on the day I get paid), but hopefully that will change soon to weekly payment. Once that happens I can then buy little packets of miracles which is also known as CAFFIENE, and spend my nights relentlessly drawing and my days relentlessly moving boxes.
I also want to mention this next paragraph just to get it out of the way, but I might be repeating it later anyway.
One purpose of this blog is to challenge myself as an animator. I'm not a professional artist and I currently don't work in a studio so there is no means of me posting my works in progress (for I have no current works to work on). So right now I'm in the "finding my grounds" stage which is probably the most fun stage of life to be in, before your soul gets drained from turning your art into a job.
But it would be a miracle for me to get anything done. I have a full-time job where I move around boxes and I get home feeling too lethargic and sleepy to do anything. I get paid on a monthly basis which is incompatible with my budgeting expertise (which means I spend it all on the day I get paid), but hopefully that will change soon to weekly payment. Once that happens I can then buy little packets of miracles which is also known as CAFFIENE, and spend my nights relentlessly drawing and my days relentlessly moving boxes.
PERFECT BLUE, a discussion.
I've seen this movie many times, and I can see it many more because I thoroughly enjoy watching it. But I saw this movie one time with my housemate Peter and we had a discussion afterwards about what had me really intrigued by it: the fact that it's an animated movie when it could have just as well been live action. Now if you're the kind of person who enjoys actually thinking about things then Peter is a great guy to watch a movie with, especially animated ones. There is a certain topic of animation that has struck me for a while now and it's something that was brought up by Shinichiro Watanabe (of Cowboy Bebop/Samurai Champloo fame), in one of the featurettes for The Animatrix. He said he's interested in bringing together animation and the real-world, blurring the lines. I won't get into that now, I'd rather get into it in my next post (with a look at literally blurring things in animation as well).
When talking about Perfect Blue I noticed that its art style is much more reserved than your typical superdeformed cartoony anime style. Proportions and proper anatomy are observed and to go even a step further everyone looks like they're from Japan, which blends in with the Tokyo setting. No blonde or blue or green hair, some characters have small squinty eyes. A great shot in the film is an obvious contrast of styles, where the sliding-door of the video store has a large poster of a super-deformed style anime girl, probably from some generic Magical Girl story. Throwing in this juxtoposition not only contrasts art style and story style, but also mirrors this kind of illusionary personality of the main character as a J-pop idol and the way her audience sees her.
But I will get to the main topic: why is this animated when it could have been made as live action? I ask this because there isn't too many moments of impossibilities like what we associate with in animation (like giant robots, talking animals or magical beams of light), there was the ghost floating over the city scenes and perhaps some artistic landscape staging but all of those could have been added in post-production and special effects with today's technology, or even the technology of 1997 when it was made.
With our brainstorming, Peter and I brought up the point of the violence in the film. There are painfully graphic moments that make you cringe and retreat inside your metaphorical shell, like the photographer being stabbed to death with a screwdriver, or the fat delusional manager being cut with the shattered glass, or when that manager stabs Mimarin with the umbrella. Because it is animation the gore and violence, and other special effects like the ghost or the rape scene, are a part of the world just as much as the people and objects. If it were live action it would be too easy to notice when something is a special-effect, and so the audience will become too uninvolved with the story. If the gore comes out as naturally as everything else - animated - only then you can truly experience it as if it just happened to you (assuming the story has a good director, of course).
Plus, this also takes into account the creepy stalker:
If Perfect Blue were live-action and they had someone who looked like that (they would probably be using prosthetics) you would just know that it's not real from the first glance. But in an animated world someone can look like that and interact with the world just as normally as anyone else in the story, as long as you do it well like they did in this movie.
Overall I think the story is brilliant, and thought-provoking on many levels. Even if you didn't like it, I don't know how you can stop yourself from thinking about it. Then again I know people who don't like thinking, and I wish I didn't.
I'm starting this blog
I'm starting this blog as a means to talk about theories and things that interest me, much like EDDIE'S KILLER THEORIES only with my own interests. I might even draw pictures of cute girls!
The next post will be about a discussion on the movie "Perfect Blue". An animated movie by Satoshi Kon, and one of my favourite movies (as in 'movies' and not limited to 'animated movies' or 'animes').
"The Universal Quantifier" is a reference to my other blog, http://upturned-a.blogspot.com, where the upturned-A is a mathematical symbol for a universal quantifier. You can look it up on wikipedia for more information.
The next post will be about a discussion on the movie "Perfect Blue". An animated movie by Satoshi Kon, and one of my favourite movies (as in 'movies' and not limited to 'animated movies' or 'animes').
"The Universal Quantifier" is a reference to my other blog, http://upturned-a.blogspot.com, where the upturned-A is a mathematical symbol for a universal quantifier. You can look it up on wikipedia for more information.
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